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When the global financial meltdown struck in 2008, many of those with a vested interest in the luxury market watched nervously; high net worth individuals had surely seen many investments wiped out as the recession struck and would thus be more inclined to austerity. While there was a brief moment of humility and caution over indulgence in life’s finer things, it was brief. The luxury market proved surprisingly resilient. Global spend has increased since the recession by around a third, helped in no small part by the explosion of growth in developing regions, China in particular. Orson Welles once said “If you want a happy ending, that depends of course on where you end your story”. Our story, sadly, does not end here.

It was not a good omen when fashion curator and director of the Musée Galliera in Paris Olivier Saillard said during New York Fashion Week last month, “We are in a moment that’s very bizarre in fashion: there are too many clothes”. Business of Fashion lamented both a lack of quality and vision in contemporary collections,

“Fashion seems stuck between the need to surprise using a new array of communications tools and the urge to deliver novelty at the fastest possible pace. Slowing down might be a solution, but that would be a hard route, which will hardly find followers.”

And it is followers that fashion, and the luxury market as a whole, are in need of. Earlier this month the Financial Times reported on the global slowdown of luxury spending. Behind this slowdown lie two factors. On the one hand, there is what are hopefully short-term influences; geopolitical turmoil is rife. Hong Kong continues to see protests that refuse to simmer down, causing disruption to myriad businesses. The city accounts for perhaps 20% of global luxury spending. The Middle East, whose consumer origin or nationality according to Bain & Co. has the biggest average per capita spend, is similarly in chaos, with Syria, Iraq, Afghanistan, Egypt, Libya all in various stages of unrest. Regions like Saudi Arabia and Qatar are caught between a rock and a hard place. In Russia, sanctions have hit oligarchs and their ilk hard. As a result, shares in luxury good companies have been hit hard. Prada has seen profits slide 20% in the first half of the year. Everyone’s darling of fashion innovation, Burberry, has warned of a “cautious outlook”. Mulberry has issued a string of profit warnings and recently ejected its CEO.

McKinsey illustrate the drift of luxury growth from developed to emerging markets

So we can reason that these companies are seeing fewer customers. But they are also attracting new ones, albeit with very different expectations of the service they expect from the companies they have relationships with. This is the longer-term challenge. Millennials may have been treated as a distinct niche group with quirky demands from brands, but next year they will outnumber Gen Xers, according to McKinsey. These utterly digitally savvy citizens have embraced and contributed to a digital fragmentation in the consumer decision journey, the production process and the fundamental nature of buyer / seller value exchange.

“[A] confluence of digital, the rising power of street fashion and changing consumer attitudes… are radically altering the industry. [It is a] consumer-led shift away from ostentatious and mainstream mega-brands towards understated originality”

One of the most obvious ramifications of this has been the trend of ‘logo fatigue’. It is likely to hit those like Gucci particularly hard, while benefiting those like The Row, and little-known retailers like L’Art du Basic. For larger brands there are some examples for inspiration though. Yoox, whom we have profiled in detail before, have gone from strength to strength in embracing effective digital strategy. The fashion ecommerce site reportedly sees 42% of its global traffic coming from mobile devices, and has recently made a significant push into experimenting with instant messaging app WeChat. As elaborated by Fashion and Mash, the account allows users to “shop via an interactive look book, and to instant message customer service teams and personal stylists. Content also invites users to exclusive events and provides early access to specific products”. In the physical world, Ralph Lauren’s hosting of a cafe in its Fifth Avenue store in New York may be less immediately strategic but seeks to leverage the same burgeoning trends. Brands will need to do more of this, more often, if they are to find what works best for them in terms of engaging and converting future prospects.

Also this month, Zeitgeist found itself at an event at London’s Four Seasons hotel off Park Lane, hosted by law firm Baker & McKenzie. Threats, tech trends and M&A were the main subjects of discussion. Zeitgeist scribbled down some bons mots which were thought worth recounting here. Last month, McKinsey produced an insightful piece on the future of luxury growth, indicating growth would come for the most part from what they termed global megacities, a large proportion of which were located in emerging economies. But China is facing a slowdown; no doubt one of the reasons it was recommended in the conference that businesses start to think less of China as an independent market of growth and more of ASEAN as a region.

3D printing was a matter of much conjecture, but it was pleasing to see that the regulation of such materials was already being considered. One speaker offered the technology would be a greater problem for toy manufacturers than luxury, but cautioned that fast fashion and high customisation were a potent mix. Current UK regulation allows for printing any designs (of one’s own creation or not) at home for personal use for no gain. Such laws may have to be re-examined as 3D printing becomes more widespread. It is difficult to protect the IP of a fashion designer’s work, and difficult therefore to know where to draw the line between inspiration and infringement. The case of the red shoe, specifically between Yves Saint Laurent and Christian Louboutin, has illustrated such difficulty. In the case of 3D printing, one speaker suggested that printing could be limited via restriction similar to how publishers use paywalls, or a more sophisticated version of the DCMA. The importance of protecting the source code of 3D printing designs looks set to be important; Pirate Bay already has a section for such product. Social networking as a new source of IP was also discussed. David Yurman sought opinions on styles to be included on a Valentine’s campaign; users could drop hints to their partner. Bergdorf encouraged fans to design Fendi bags over social, too. But there have been slip ups; Cole Haan offered to pay fans $1,000 for taking pictures of their shoes, without making it clear it was part of contest where someone would win and that the company was sponsoring the activity. They got off with a warning from the regulator, but luxury brands must treat that as a cautionary tale as they continue to experiment. “The law is not keeping up with the technology”, as one speaker sagely confessed.

David Yurman’s Facebook campaign suggests new IP possibilities for businesses in the future

The M&A chat was equally of interest. Speakers ruminated on the rise of vertical integration as LVMH et al seek to own the whole process. It’s a brave step for companies that traditionally haven’t involved themselves with supply chains or distribution, according to those speaking. Acquisitions were taking two forms: one was spotting missing gaps in the portfolio. For LVMH, the hole in their portfolio was jewellery, which lay behind their purchase of Bulgari in 2011. More recently Giorgio Armani – or as one speaker referred to the man himself, “King George” – reclaimed control of Armani Exchange as it attempts to leverage fast fashion trends. The other form was that of acquisitions in support of brand development – innovation, technology, CRM in Mandarin, social media, etc. More of these sorts of acquisitions were expected on the horizon.

How do these deals play out today? Private equity buyers have a lot of capital and access to cheap debt, but traditionally many of the targets of a buyout have been family-owned businesses who were not ready to relinquish control to a PE firm. These firms are much quicker and more aggressive at deals; they can quickly globalise a brand, can improve the supply chain and stretch the brand up and down from the original price point. Of course, adding new assets, like social media, makes due diligence – and knowing how to allocate risk to a mercurial medium – much harder. Owning supply chains carries risks of more exposure (see Apple and Foxconn). One of the most thorny issues that speakers envisioned was for a luxury good empire known for provenance and quality to be acquired by a a company in a jursidiction that is not known for such things. What if Alibaba bought Balenciaga from Kering, for example?

Digital is expected to drive, on average, 40% of projected luxury sales growth from 2013 to 2020

Next year will see the return of John Galliano to the runway stage to the helm of a fashion house, this time at Martin Margiela. A recent article on the designer’s flameout while creating works of wonder for Christian Dior emphasised the way in which Galliano “had been cloistered off into a strange protective bubble. Sometimes, we isolate (and elevate) talented creatives so much in the fashion industry that they lose connection with reality”. It is arguably a similarly protective bubble that the fashion industry itself has often been accused of being in, and we would argue it is in now with regards to the need for greater digital sophistication and a more significant investment in digital strategy as it concerns customer insights and the law. It is plain to see that the luxury industry continues to face disruptive challenges, be they at the hands of digital, demographic or geopolitical trends. Some of these disruptions will hopefully, as mentioned earlier, be more temporary in nature. The more fundamental shifts in consumption, though challenging, also present myriad opportunities for businesses that are brave and agile enough to test what works best to capture and retain the customer of the future. Last month Exane BNP Paribas published a report illustrating just how important digital sophistication will be (see above chart), and naming those most likely to benefit from such changes. They could do worse than start by reading our previous post on the future of retail.

At Cannes Lions tomorrow, Burberry’s Chief Creative Officer Christopher Bailey will ask “What if ads didn’t have to look or feel like ads?”. In a guest post, Chloé Hajnal-Corob writes about how luxury goods companies are seeking new and diverging paths in order to engage with their customers. Chloé spent time working at a fashion startup earlier in the year, assisting with the launch of a fashion hub for Vine videos, among other things. She is currently placed at Editd, a fashion data insight company.

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This spring, the House of Dior descended upon Harrods in London, one of the world’s premier department stores, for their “So Dior” exhibition and café. Last month, for one week only, Hermès had their “Festival des Métiers”, at London’s Saatchi Gallery. These two events represent a recent trend for providing luxury experiences, and though they are markedly different in some ways, they share a common goal: to drive revenues via brand education.

The “So Dior” exhibition, café and pop-up boutique took over a large designated area of Harrods alongside their usual concessions. Their presence was felt throughout, and Harrods have described the takeover as “a luxury-charged adventure combining French Savoir Faire and British charm”, the premise of which is to showcase the brand’s relationship with the store, and Christian Dior’s personal affiliation with the capital. Zeitgeist and I paid a visit, after seeing the social media hype from opening night. The event did not disappoint. On arrival, we were offered a private tour of the exhibition. What followed was a complete education into the history, heritage and identity of the brand and designers (Christian Dior, as well as Yves Saint Laurent, John Galliano and now, Raf Simons). The assiduousness and attention to detail demonstrated in the event were striking, and the quality of the experience was exceptional. It stands in particular favour given it was a free event, especially when compared with similar exhibitions such as the recent Valentino show at Somerset House, for which entrance was £12.50. We wondered if Dior and Harrods would set a precedent for luxury experiences where no fee is charged. Enter Hermès’s Festival des Metiers, which has been touring the world in a travelling circus of craftsmen, demonstrating their skills, and charging nothing for the privilege of seeing them. This harks back to how customers at high-end boutiques are treated, but without obvious intent to purchase. We are rewarded for our passion for the brand, not simply our contribution to sales.

Dior’s exhibition excelled at presenting a linear history grounded in contextual relevancy

What is the ROI for these free events then, when the cost of execution is so high? Both exhibitions come after a lengthy stream of brand “experiences” (as noted in a previous Zeitgeist article) that represent the latest luxury market strategy for driving revenue and footfall to retail spaces, in attempt to allay fears of a mass exodus of shoppers from the street to the website. However, Dior’s CEO, Christian Toledano reportedly told vogue.co.uk at the launch party of the event: “This isn’t a marketing tool… It’s a transmission of Couture”. But these are not mutually exclusive concepts; rather they are means to the same end, and arguably an education into the brand is simply the chosen method of marketing. Indeed, Hermès openly acknowledges the lucrative repercussions these luxury experiences have. An article in the FT cites that the event, in each city, draws around 30,000 visitors, which in turn increases footfall to brick and mortar stores. A twenty percent increase, to be precise, in the week following the festival in Seattle, Washington. In a far more low-key event than Dior, these are impressive figures, particularly given that no attempt at sales was made on the exhibition site. A bespoke, or even generic, selection of products on sale at the event would likely have been very popular.

Both events encouraged significant online chatter, though neither seems to have been particularly driven by the host brands. Dior at Harrods was littered with high impact branded totems, ripe for the social media picking, and as usual, Twitter, Facebook and Instagram were filled with images and comments from the event, and now Vine, twitter’s 6-second video app, provided the ideal way to document the experiential nature of the event. It is interesting that Dior made no attempt at harnessing or leveraging the veritable mass of attention the event garnered. On investigation, I found only a limited amount of content around the event on Dior’s twitter feed and Facebook timeline. There was no official hashtag for the event and no evidence (that I could find) of any engagement with consumers who were talking about it. Hermès, though a far more low-key affair, “discreet to the point of invisible branding”, were no less well-represented in the social media space, but were almost equally poor at engineering and engaging with their online audience. The hashtag #festivaldesmetiers seems to have been widely adopted but it is completely unclear whether this was brand-driven, and Facebook interaction was limited to a single status update announcing the event. For brands that exert meticulous control over themselves in the physical space (something that was made patent in the exhibitions), it is strange that they are not attempting to implement this in the digital space, where barriers are borderless and the opportunity for damage is massive. This is a bold (perhaps naïve) move in the current climate, albeit that both events seem to have been highly successful.

It is somewhat ironic that Dior’s exhibition was held at Harrods – an obviously commercial venue, where special Dior products were available to buy – choosing to assert their mission as education rather than marketing. By contrast, Hermès chose an established art space to host their Festival des Metiers, albeit one that is often known for its consumer links, and have clearly acknowledged the potential of education as a means of marketing. Neither space is less appropriate then the other, but both are indicative of the kind of events hosted. Harrods, with its lavish window displays, reputation for luxury and labyrinthine layout, was apt for Dior’s fantastical and grandiose display, not to mention that it was intended to draw on the relationship between brand and department store. The Saatchi gallery’s minimal open space provided a neat backdrop for hosting “a rendez-vous with the Hermès craftspeople”, and apparently, sought to appeal to a younger demographic than perhaps the Hermès customer would ordinarily be. It is appropriate too, to present what can only be described as a fine art and craft, in an artistic space. It’s a notion that rival (and owner of Dior), LVMH, clearly thought worth cashing in on, since they have subsequently launched a similar initiative: the Journées Particulières, which this year will see it open 40 of its ateliers to the public for a weekend.

Hermès attracted large crowds with its silk screen printing demonstrations

Both Dior and Hermès certainly made good attempts at getting people to engage physically (as well as virtually). The “So Dior” exhibition, and of course the café, were multi-sensorial. Beyond visual aesthetics, short films with headphones were provided, touch-sensitive technology was exploited and food inspired by Dior’s cookbook made for a wholly engrossing experience. Perfume was a key focus of the exhibition, explored from many different angles; not content with simply handing out the usual sticks of paper to smell, Dior and Harrods provided a telephone box (grey and white, in-keeping with brand décor, naturally) emitting one of Dior’s signature scents. Hermès was less immersive but more intimate; the possibility of viewing and interacting with those who create the product (and by extension the legacy), and even partaking in the sewing of scarves or ties, successfully created a feeling of exclusivity and privilege that the event no doubt strove for.

Toledano stated of the “So Dior” exhibition, “We need to explain why and how we do what we do. I want people to understand the passion, the innovation and our commitment to excellence.” In a similar vein, Guillaume de Seynes, great grandson of Emile Hermès explained: “We want to demonstrate that for us, craftsmanship is something that happens everyday.” Both brands sought to educate the consumer about themselves – Dior by making comment on the ideas and inspiration that produce the end product, and Hermès by demonstrating their commitment to the heritage of the brand by maintaining the quality of garments through skill of craftsmanship. Were they successful in their mission? Certainly; both provided real insight and inspiration. In doing so, Dior and Harrods, and Hermès’s Festival des Metiers, created an opportunity to become part of a legacy, and with this, the aspiration to turn something memorable into something wearable.

– Dante D’Angelo, brand and consumer development director at Valentino

It is an odd state of affairs indeed for the retail sector at the moment. On the one hand, consumers are flocking to digital devices like never before, particularly for their shopping. Conversely, this means that the physical experience of shopping becomes rarer, creating more opportunities for specialism. An article in the Financial Times a few weeks ago read as if a commercial plague had swept through the UK high street over the past few years. With 4,000 stores affected, 2012 was, according to data from the Centre for Retail Research, the “worst year since the start of the credit crisis in 2008″. Names of erstwhile stalwarts like Woolworth’s, Jessop’s, Peacocks and Clinton Cards have all fallen under the knife. As we wrote at the beginning of last month, what little salvation there is lies in embracing digital technologies.

The luxury sector however has its own special, gilt-edged cards to play. In St. Tropez, the Christian Dior boutique’s ample courtyard has recently been made use of with an all-day restaurant. Louis Vuitton have a cinema screening classic Italian films in their Rome boutique. It’s no wonder such brands have also branched into the hospitality sector, the former working with the St. Regis to develop branded rooms, the latter into full-scale hotel management. Ferragamo have been involved in the hotel sector for years. Two recent examples show how companies can extend the experience for visitors, and help drive revenue at the same time.

The auction house Sotheby’s will tomorrow auction a rather large collection of surrealist art. One of the few things that definitively puts it ahead of Christie’s is that it has its own cafe, which, last week and this week, is pushing the surrealism theme into its catering (see above menu). It’s a simple, creative idea that creates a cohesive brand, celebrates a big event, and ultimately hopes to drive revenue from peripheral streams around the auction. The RA’s current Manet exhibition is taking a leaf from this tactic, opening later but charging double the usual rates for a special experience, including a drink and a guide. The other interesting news of note was a new tactic being employed by the fashion company Valentino. Not content merely with having a major exhibition at London’s Somerset House, the label is also tinkering in an innovative way with its event structure. As detailed last week in Bloomberg Businessweek, Valentino is opening a new boutique in New York later this year, during which the typical glitterati will be in attendance. However, the new idea comes in the form of the company inviting prized customers to the opening for the chance to rub shoulders with said VIPs, for a steep price. Similarly, Gucci is offering its non-VIP customers tours of its Florence workshops for the first time.

Something that Zeitgeist has been noticing for a couple of years now, recently echoed by Boston Consulting Group (BCG) senior partner Jean-Marc Bellaiche, is the importance, particularly for those in their 20s – like Zeitgeist – that people place in defining themselves by what they’ve done rather than what they own: “In an era of over-consumption, people are realizing that there is more than just buying products… Buying experiences provides more pleasure and satisfaction”. On a macro level there is significant bifurcation in the retail market; not everyone will be able to afford in creating extraordinary experiences for their customers. A recent BCG report helps illustrate this, noting that while the apparel sector as a whole saw shareholder returns fall by 1.3% for the period 2007-2011, the top ten players produced a weighted average annual total shareholder return of 19%. Expect then for retailers – those that can – to increasingly provide exclusive experiences to their customers, beyond the celebrity, whether it be early product releases, tours, or events. Just don’t expect it to come without a pricetag.

Luxury brands have found it hard to come to terms with the shift in consumer shopping habits from retail to online. For several years they have dipped their toes in the water of digital, but with little commitment and much hesitation (until recently). This is understandable. Often for luxury products, the justification for higher prices is only evident upon seeing the item in real life, or it can sometimes be intangible. These assets are hard to replicate when seen on a computer screen. A store’s retail environment allows the company to control every aspect of the brand experience. Someone checking out the Louis Vuitton website could be using a slow computer in an old browser; the experience will suffer, and there is nothing the brand can do about it. Much more sensible then to invest in concept stores, such as the recent one in Selfridges. But there needs to be a focus still about managing the brand and courting attention beyond the four walls of the shop.

So it should be of little surprise to see that recently luxury has been looking to broaden its horizons in the physical space, aiming to brand experiences that seamlessly fit into the lifestyle that they think is associated with their brand. This was evident in no small part when Zeitgeist took a trip recently to St. Tropez. Before even entering the town, visitors were greeted with the sight of mega-yachts and enormous Gin Palaces, and – on one of the days Zeitgeist visited – evidence of the relatively recent collaboration between Gucci and Riva (see above picture). Such a partnership probably helps the former more than the latter. It certainly helps validate the clothing company’s brand, which sometimes fails to leverage its relatively strong heritage. Walking away the port – past the recycling collections strewn with empty bottles that had once contained vintage wine and champagne – toward the famous Place des Lices brings you face-to-face with the hotel White 1921. This is one of LVMH’s newest incarnations, an eight-room hotel.

It was a beautiful hotel to behold, and had just opened the week Zeitgeist was visiting. Though much in need of a lunchtime glass of champagne – the brand here makes the most of its ownership of several champagne labels – the dining area was sadly not open until the evening. White 1921 is not alone as a recent example of hospitality being managed by a luxury brand. LVMH’s first such hotel was back in 2010 in Courchevel, named Cheval Blanc. More recently, Bulgari have launched their own hotel in London’s Knightsbridge area, close to the Mandarin Oriental hotel. The St. Regis hotel in New York now has a small collection of fashion-related suites, including the Dior Suite. All this is about embracing a certain idea, a crystallising of what it means to be living a particular lifestyle. The question for LVMH begins to arise as to whether, strategically speaking, having one arm of your company (Dior in this case) having a room owned by St. Regis creates any significant competition between the hotels you are opening elsewhere in the world. The more they open, and the more branded suites appear under competitor’s names, the stickier this situation could get.

Releasing products that compete for the same consumer type is never a good idea, and is a mistake General Motors made. A very good essay on this is available in Richard Rumelt’s ‘Good Strategy / Bad Strategy’. The market is becoming crowded. Hermès has side-stepped this by designing luxury apartments in Singapore. Some companies have thought at a more granular, perhaps relevant, level. Trunk-maker Moynat have teamed up with the famous Le Meurice hotel in Paris by providing French chef Yannick Alléno with a roll-in trunk so he could cook breakfast for guests in the comfort of their own room. It’s an inspired idea that retains the original idea of what makes the brand special and heightens it by creating a unique experience for the consumer. The New York Times reports,

The chef’s breakfast trunk is genuinely designed to travel, its porcelain plates held upright with leather straps and its cutlery in drawers. Mr. Alléno already has plans to send it to hotels where he has connections, first in Dubai in September, then to Courchevel in the ski season and on to Marrakech. At each destination, he will make a personal appearance and demonstration.

Similarly, Prada has thought about how best to showcase its ready-to-wear line, in this case including its clothing in the sumptuous film The Great Gatsby, due out next summer. The highlight of Zeitgeist’s time in St. Tropez was in visiting one particular boutique. Christian Dior, while not be a brand one immediately associates with good food, featured an open courtyard that hosted a cafe dedicated to indulgent delights. Mr Alleno was also responsible for the food here. It was an impressive exercise in brand management… and excellent profiteroles.

Zeitgeist has written before about the luxury goods company Yves Saint Laurent. Then-creative director Stefano Pilati opined, “[I]t’s such a contradiction, because we want to be luxurious and have 300 shops all around the world, but you can’t be luxurious with 300 shops around the world”. It’s always difficult to introduce dramatic innovation to a company that conversely prides itself on provenance and tradition. In trying to adhere to past methods, what starts out as a respectful outlook can lead to stagnation. It was evidently with this in mind that incoming designer for YSL, Hedi Slimane, has decided not only to personally redesign all retail environments – as he did at his last post at Dior Homme – but also to change the name of the brand itself, to Saint Laurent Paris.

It is not the first time a luxury label has grappled with a name change. “Gianni Versace” was similarly shortened some years ago to “Versace”; more recently Dolce & Gabbana’s more affordable “D&G” brand, announced it is to be shuttered due to consumer confusion over nomenclature. YSL’s name change is actually a return to tradition of course, as the brand used to be known as Saint Laurent Paris. This news was overlooked though on Twitter, where a lot of the knee-jerk reactions to the news were far from positive. The move will allow Slimane to stamp a real sense of authority on the brand, much as he did while at Dior, where many objective observers rightly claim he revolutionised contemporary menswear.

Most importantly though, the renaming should help move the brand away from the vestiges of any remaining cheap associations (evinced by the above person wearing a YSL polo shirt). In the 1980s, the company sold licenses to use its name to over 200 different companies, which led to poor-quality clothing being produced under the YSL marque, and a significant erosion of brand equity. A similar situation befell ’70s doyen Halston. Hedi Slimane’s Saint Laurent Paris has the opportunity to breathe new life into the company, while still maintaining a distinct sense of style that the eponymous designer would have been proud of.

In a quest to be all things to all people, brands can sometimes lose their way. They become lost in a miasma of dilution as they try to stretch their brand equity to appeal to every consumer, or branch out into new markets. Some, like Virgin, have managed this fairly successfully – let’s forget for the moment about Virgin Brides – while others, such as Cisco (which we wrote about recently) have fared less well. Virgin’s equity relies in part on the man behind the company, Sir Richard Branson. His affable qualities have appealed to both consumers and investors. The balance he maintains is a delicate one, driving the essence of the brand without ever overwhelming it.

In the world of luxury, companies have often used brand ambassadors. The watchmaker Breguet has long claimed that luminaries such as Napoleon, Churchill and Marie Antoinette wore their brand. Each of these characters had their flaws of course, not least the megalomaniacal Frenchman. However, when the person personifying the brand is also at the rudder of the ship, the situation can prove more complex. This was evident in March this year when master designer John Galliano was fired from his creative directorship at Dior, as well as from his role at his eponymous label.

Similarly affected by ramifications at the top has been Lagardère Group, run by Arnaud Lagardère, who inherited the company from his father. As well as owning a range of media assets, it also has a 7.5% stake in the defence contracting firm EADS. Recently the 51 year-old has taken up with a 20 year-old model by the name of Jade. A cutesy video for a glossy magazine shoot made its way online (see below). Any semblance of dignity the man maintained – already in question prior to this video – was lost. This may decide future business directions at the company. Arnaud is a keen sports enthusiast, at one point mulling a bid for the rights to the Tour de France. Any such wishful thinking must now be considered just that as shareholders are keen to refocus on existing assets. His overt publicity has cost him dear; Arnaud may now be at risk of losing some of his control over the company. Writes The Economist,

“Executives at EADS are dismayed to see their future boss behave like a nincompoop. “In Germany any manager who shot such a video would be finished in business,” says a person close to the company.”

And so we turn to Apple, which has been recently hit with the news that Steve Jobs will be stepping down from his current role. He will remain at the company as chairman of the board, and his ideas and personality will affect the company’s direction for several years still, but after that the company’s direction, and its brand equity, will be at a crossroads. The company has, even relative to its own stellar performance, recently been enjoying great success, briefly becoming the world’s largest public company. In managing this feat, it overtook Exxon Mobil. As The Economist pointed out, however, “oil remains a vital raw material” (though not for a great deal longer, admittedly), whereas Apple’s appeal is in “delighting customers”. A company that serves such a fickle master so directly is in danger of losing said appeal at any given moment. Last week, an editorial in the FT pointed out that an Apple without Steve Jobs at the helm will be a less irascible but also a less happy place, and hence perhaps less appealing to customers. The New York Times echoed such sentiments that weekend, with an article headlined “For Apple fans, departure of Jobs is personal”,

“…[P]eople love Apple products in a way that they do not love other products they use every day. And Mr. Jobs as chief executive has been uniquely connected to Apple’s creations.”

The article details personal consumer reactions to the news, which range from tearful incredulity to concern over future business inspiration and product innovation.

All of which goes to show that having an impresario at the top can benefit a company hugely for decades. Could Steve Jobs have made Apple as popular, while taking a slight back seat, a la Bill Gates, Howard Stringer, Howard Schultz or Jack Welch? Probably not. If he had, Apple wouldn’t be the company it is today. But one thing’s for sure, what it is today will not be what it is in the future, when Jobs’ influence has left and the company has to decide which path to take.

It’s going to be a make-or-break year for Foursquare et al. There have been interesting campaigns by all sorts, from Marc Jacobs to McDonald’s. What’s missing is seamless integration of these services with retail environments. ‘Checking-in’ has got to become a utility for shoppers outside London, New York and San Francisco. Currently, opportunities to create conversations are being missed.

Twitter’s retail presence will continue to grow, evinced by Best Buy’s Twelp Force and Debenham’s Twitterers flitting about stores. Multi-platform interaction can be enhanced by the physical retail environment: Diesel pulled off a fun gimmick last year with a screen outside the changing room allowing customers to upload a photo of themselves to Facebook to query friends on their clothing choice. Neiman Marcus recently merged online and in-store inventories, a great idea that others should emulate. Allowing people to browse products in-store on an LCD screen without the pressure of exasperated sighs from sales assistants can make shopping enjoyable and convenient. Chanel’s Manhattan flagship has such functionality; it could be of equal use at B&Q.

Getting someone to linger in your space and mention the experience to others is what counts. Pop-ups, if they serve a purpose rather than being a gimmick, can be a tremendously effective – not to mention fun – tool. Don’t underestimate fun. Emphasising convenience alone means most people – especially when the odd flurry of snow arrives – will shop online at home. There must be an element of excitement, innovation. This can be escapist, like Secret Cinema, or pure enjoyment like Muji’s vending machine (see top photo). Pop-ups can provide an excuse for an otherwise serious brand. They help in getting a message to new audiences (Gagosian’s pop-up), or taking the store to the customer (Natwest’s mobile truck).

So, more collaborations, more digital and more pop-ups; so what’s new? As William Gibson once said, “The future is here, it’s just not very evenly distributed yet”. Embracing digital won’t stop people price-checking and tweeting negative remarks, but it would be worse to keep it – and therefore the customer – segregated. If that happens, and you promote on convenience alone, that customer never comes to your store and never sees a physical embodiment of the brand. Last November, as Zeitgeist previously reported, Ralph Lauren was one of the latest brands making use of 4D projection mapping. People cheered at animated handbags and ties. In 2011, Mintel advises, “brands may need to get more creative to lure consumers into stores, offering more than just retail and be a venue, not just a shop.” I’ll leave you with that thought while I go and cheer at a sandwich in my local “venue”.

Both parts of Zeitgeist may be out of the office at the moment, but that doesn’t mean we haven’t kept our nose to the grindstone, our ear to the ground, our eye on the ball, our finger on the pulse and our foot wedged in the door.

Last week, Zeitgeist was fortunate enough to attend the International Herald Tribune’s Heritage Luxury conference at the InterCon on London’s Park Lane. While the Missoni clan waxed lyrical on the importance of keeping it in the family, after such luminaries as Paul Smith and Alber Elbaz had already spoken, the real highlight was seeing the legend that is Karl Lagerfeld, designer for Fendi and Chanel, as well as his own eponymous collection. Karl spoke on a variety of subjects. He even offered his take on the LVMH / Hermes debacle, which Zeitgeist wrote about recently, suggesting that Hermes keep their earnings private, as Chanel does, so as not to encourage hungry buyers by “putting the milk out”.

Host Suzy Menkes asked Karl to talk about Coco herself, which he did with no subjectivity, criticising her knee-jerk dislike of blue jeans and miniskirts, and failing to adapt. It is this same failure to adapt that is causing many businesses – or even entire industries, such as books and music – to suffer massive losses, with Chanel itself a “dowdy dowager”, as the Wall Street Journal once described it. Indeed, when the managing director of the reputable Brown’s stores asked Karl what how important he thought the digital world was for luxury brands, Karl was unequivocal, saying Chanel the brand ignoring digital would be like Chanel the lady ignoring miniskirts and blue jeans. He was also talked about the increasing binary pull of fashion, where inexpensive and expensive rule, with no middle ground. Businesses in that middle ground – think FCUK – will not fare well in the future he intimated. If one thinks of this from a branding perspective, it is perfectly understandable. Selling your product as the best you can get, or, conversely the best you can get at the cheapest price, is a robust selling point. Anything between becomes undefinable and wishy-washy; at exactly what point has quality been sacrificed for expediancy in x product? Chanel have done a fair job so far of embracing the digital world, with an engaging iPhone app as well as an e-commerce section on their site.

Of course, some brands – especially luxury ones – revel in their heritage, and so it was on Tuesday night when Zeitgeist attended the evening preview of Dior Illustrated at Somerset House. Illustrator Rene Gruau was still drawing adverts and couture dresses for the company long after other labels had switched to photography. Of course, it is when one can combine the worlds of heritage and keep the brand contemporary that is most impressive. So it was withRalph Lauren’s 4D presentation, also last week, shown in New York and London, recorded by a friend of Zeitgeist’s. Enjoy.

Contention, Controversy and Criticism, the three Cs that no brand wants to hear (unless they’ve intentionally brought it upon themselves in an incredibly well-orchestrated way). The Gap recently tried this, in an effort that Brandchannel called a “Gapocalypse”, i.e. not well-orchestrated. Mea culpas followed hard upon.

Last month, the Daily Mail reported that Dior was being similarly torn apart; “slammed” for its apparently racist imagery. The images in question, shot by Quentin Shih as part of the ‘Shanghai Dreamers’ campaign commissioned for the new store opening in the eponymous city, show a woman draped in Dior finery, surrounded by Chinese people who all look exactly alike. The campaign has been called racist, but Mr. Shih says, “I wanted to show the power of Chinese people standing together and a kind of socialism in Chinese history (only in Chinese history not China now)… The Chinese models are not people. They are symbols of Chinese history between the 1960s and 1980s.” According to the article, The Guardian’s Jenny Zhang wrote “[They] should have sent Chinese models for Shih to shoot, and should understand that the modern Chinese Dior customer will not recognise herself or himself in these photographs.” Dior could be forgiven though for playing on the well-known admiration that the Chinese have for luxury, exotic Western brands. Actress Marion Cotillard was similarly used in an international campaign for Dior recently, highlighting China’s rising prominence.

The ‘Shanghai Dreamers’ photos, intentionally glazed to give the appearance of those family photos from bygone days, remind Zeitgeist of old school photos… just not theirs. As always, your thoughts and raging tirades are always welcome on what you think of this campaign, and how well it treads the line of being at the cutting edge – which is what haute couture fashion is all about; pushing boundaries – while maintaining cultural sensitivity.

On Monday morning, fully half the Zeitgeist team awoke from its slumber, left its abode and walked the 15-minute walk to Mecca. While not a dedicated fanboy, the integral part this company has played in the evolution of the Internet over the past decade, (Zeitgeist first remembers using their search engine in 1999), is undeniable. The morning would be spent in the hallowed halls of Google HQ. Mobile advertising for the Android platform would be the focus.

After munching on a croissant, downing an Earl Grey and meandering past the ice cream delivery bicycle, Zeitgeist was talked at by Ian Carrington, Amanda Rosenberg, Reto Meier, Scott Seaborn from that indefatigable ad agency Ogilvy and from IconMobile; Steve Griffiths.

Given the high volume of iPhones-to-people ratio in the room, it was not best to start off the morning with a non-so-subtle jibe at the aforementioned device. However this was indeed how the morning started; these jibes became the sine qua non of the whole event. Given the current regulatory scrutiny Google’s search empire faces regarding Net Neutrality, any hubris around ‘open source’ might have also have been best kept checked, yet there it was. Those who persevered in their listening heard that 2010 was indeed the year of the mobile. For some it may have seemed like they had been stuck in an echo chamber; every year since at least 2005 has been deemed ‘the year of the mobile’, occasionally with the suffix “but this time it really is!”. Zeitgeist would not care to argue with the statement though, as finally consumer desire and the corporate technology to suit that desire seem to be approaching an optimum. Last Christmas, there was a sale on eBay through a mobile device every two seconds. We were told that “Everything Google do, we have a mobile version of”. Despite this poor syntax, this was an impressive statement; something simple and logical, but surely something that only a very small number of companies could lay claim to.

Google’s director of mobile advertising said that the company’s mantra when developing new products was now “mobile first”, again, an impressive affirmation when you really think about it. Currently there are fifty times as many searches performed on smartphones vs merely WAP-enabled handsets. So the iPhone, Android platform and its myrmidons are clearly providing a better user experience for consumers, that they in turn are utilising – though it will be interesting to see whether the soon-to-be-introduced data tariffs will have any impact on this. This may not be the year of the mobile, but it certainly is the year when futureproofing becomes a sound investment: In 2013, smartphone sales are predicted to overtake PC sales, which will coincide with mobile internet use overtaking desktop computer use. It’s quite plausible by then that such distinctions between types of computers will be even fuzzier than now, (iPhone, iPad, netbook, laptop, desktop) if not moot.

Google is currently in the throes of redesigning its Android application store, currently with 60,000 apps and growing (compared to Apple’s 250,000+). Apps are an interesting phenomenon. With Apple’s initial inception, they are now quite the hot item, the thing your client’s clamour after without knowing exactly why. Yet what service do they provide? According to the meeting yesterday, 95% of Apple’s apps are not used after twenty days. For Windows’ part, half of the ‘Marketplace for Mobile’ apps are made by Microsoft, suggesting they have some way to go before accruing a wide, collaborative audience. The utility of an app, it was suggested to the audience yesterday, could be one of two things; engagement or purchase. Your app is there to either enhance the brand (like Chanel or Dior) or to encourage purchase (Argos). Time, lack thereof and frequency are also a large contributing factor to an app’s use. Simply put, it would not be worth someone’s while to download the Expedia app to their phone in order to book a single flight. It would, however, be of use to a regular traveller.

The audience was later shown a graph showing mobile and desktop search queries throughout an average day, with troughs and peaks mirrored between the two systems. Google stated they were not sure whether mobile search had a cannabilisation effect on desktop search, and that they “don’t care”.

We were then treated to a presentation by Amanda who delved into the world of Android-capable handsets. This included voice search – asking the phone directly “What are the best restaurants for breakfast near Union Square in San Francisco?” led to a satisfying list of responses – and voice text; unfortunately punctuation is something that remains almost impossible to do by voice, currently. There was also an example of Google Goggles, which, as well as being able to identify a building from a picture taken by a user, can also scan hard copy text, translate it and then pronounce it for you. All of which, except for the semantics of context, was most impressive.

Scott Seaborn then stepped up to the plate, going through some interesting case studies of mobile advertising. Two in particular caught Zeitgeist’s eye. The first was the Seer app that IBM updated for this year’s Championships at Wimbledon. This interesting video from the somnambulistic “Click” show on the BBC details the amazing thing that OgilvyOne’s app can achieve. Also quite fun was the new Coke Zero iPhone app called The Cleaner, soon to be released.

We then heard more about the Android platform. 160k devices that support Android are activated daily now. One of the nicer features that Zeitgeist saw was the enablement of cross-app usage. A user could be browsing through nearby restaurants on one app. Upon finding the one they want and clicking on a button in the app to book a table, the user would then be taken straight to the OpenTable app, which would immediately display the available times and tables for the restaurant you were just looking at on a separate application. While convenient and a nice move, this does present a potential hindrance for advertisers if users begin to navigate through the web merely by going from proprietary app to app rather than using a browser where they would be exposed to more advertising.

Conversely, the expandable ads that will begin to appear on Android platforms while surfing looked great, especially for things like films (the example we saw was for Adam Sandler’s Funny People). Lastly, we saw the new ‘Navigation’ app, which is currently only available in the US. Its map system allowed for alerts to the user for nearby amenities on their chosen route, e.g. cinemas, restaurants, etc. Interestingly, it also allowed for sponsored layers, meaning advertisers could put specific flags down on the map for particular promotions, to encourage people to take advantage of en route to their final destination.

As for Google’s final destination? Well, we’ll save that for a future article.